Research Explorations : Creative Humanities
Orange School Graph Books
Harleston 2020-2021
A Species of Spaces
The Social Turn
Museum Site and Display
Political Philosophy
We have all the choice in the world in terms of products, but very little choice in terms of the kind of economy within which those things are made, accessed and used
Whose Economy
Reframing the Debate
After Neoliberalism
Doreen Massey
Other 'material interventions' and the revaluation of making through strategies of repair and maintenance
Making Ecological Politics
A world teeming with impulsive movements, deviations and many other lively (capacious) materialities
Influences that pervade, enable, and disrupt us
All agency is 'distributive' it always depends on the collaboration, cooperation, or interactive interference of many bodies and forces
Vibrant Matter, Jane Bennett
Makers work in a world that does not stand still
Iteration allows for continual correction (material conversation) in response to an ongoing perceptual monitoring of the task as it unfolds, mixing the potential for blending or combining matter that already exists into new combinations
Tim Ingold 2010
Making is central to who we are as individuals, what we make as part of everyday practice forms our identities and place in the world
The mundane experience of making, and thus of labour, is resolutely political, a geographical imperative, and a critical means of operating a meaningful relationship with this material life
The Quarry as Sculpture : The Place of Making
D A Paton 2013
The making of a building does not stop when the building work is (temporarily) finished. But only really begins upon occupation, when the work commences of maintaining the buildings integrity against an onslaught of wilfully destructive elements, insects, rodents, fungal infestations, corrosion, damp, harsh sun, water, wind
Evocative Thoughts on Building, Alvaro Siza
The social life of making
Making good is about maintaining continuity with the past, in the face of efforts to rupture that continuity
The need for repair is a remorseless and necessary process that keeps society ticking over
Making speaks in vivid dialogue with two associated themes, material and skill
Creativity involves not merely a spark of innovation or the execution of artistic inspiration. But the capacity to respond to unfolding iterations with materials. To use slowly accrued haptic knowledge to manipulate processes on the fly, and to judge how to counteract error and seize opportunities as they evolve
Making becomes a process of iteration, and a maker works with this iteration prolifically
Geographies of Making
ReThinking Materials and Skills for Volatile Futures
The skill to sustain the life of something through repair and reappropriation
Collecting is an example or a pre-emptive activity that people who are skilled with their hands commonly share
Matter and materials are lively and require attention, materials continue to thwart in unpredictable ways, decaying and breaking down or wearing or breaking under force
Vibrant Matter, A Political Ecology of Things
Jane Bennett 2010
Attending to the process of making opens up prospects for following the lead of the material, where the properties of the materials themselves shape the direction in which making proceeds
Tim Ingold 2010
New Urban Adventures in Collaboration/Conceptual Ceramics
Ceramic Practice as a form of research engaged in a process/ecology of inquiry, an exploration of ideas predicated on and exploiting the characteristics of clay
The transformation of the material is a central concern and semiotic significance unfolds with making
Seeking a symbiotic relationship between idea and object
Materials are substances in becoming
Karen Barad
Towards an Ecology of Materials
Tim Ingold 2012
From the 'objectness' of things to the material flows and formative processes wherein they come into being. It means to think of making as a process of growth or ontogenesis
Materials-Centered Perspective
Making, almost defies precise definition
The composition and/or manipulation of materials that bring into being new or revised objects
Tim Ingold 2010
Cultures of thrift and scavenging, maintenance and repair
Making encompasses the ingenuity of fluid, locally situated and adapted technologies
Materials carry on overtaking the formal destinations that, at one time or another, have been assigned to them
Sensibilities and dispositions that are centred on a deep and considered relationship with materials
The Craftsman, Richard Sennett 2008
Crafting, often reconnects mind and body in the sites and processes of production, thereby potentially reconstituting labour processes in ways that ascribe agency to workers
Makers finding ways to resist norms of gender and neoliberal entrepreneurial subjectivities, finding ways and spaces for ethical practice to predominate
Contemporary conceptual ceramics operates at the permeable boundary between art and craft, partaking of aspects of both, and ultimately demonstrating (or performing) that permeability
The emergence of the museum as proactive laboratory of social evolution
Extradisciplinary Investigations/Operative Principle
At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice
Microtopias, small contained sites of functioning democracy
Tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline
The New Institutional Practice
Projective Enterprises (should unsettle, activate, and raise questions)
The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary
So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes
Site-Specific Art and Locational Identity
Miwon Kwon 2002
Collaborations and its Discontents
Claire Bishop 2006
The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions
A complex environment, awash in affect and subjectivity
When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour
New curatorial initiatives must unpack the terminologies we use to distinguish one project from another
A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives
Unsettling-Complicit
Provocative-Strategic
Interventionist-Collaborative
Perforative Curating/Prescribed Participation
Creating new/more coded patterns of behavior/conventions/role play for visitor's
New Institionalism and the Exhibition As Situation/Social Experiment
Claire Doherty 2006
Participation
In which people constitute the central artistic medium and material
In the manner of theatre and performance
Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it
The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations
The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end
Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries
Artificial Hells (exposing the political and aesthetic limitations in the work)
Participatory Art and the Politics of Spectatorship
Claire Bishop 2011
Site-Specificity/Spatial Practice
The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate
Miwon Kwon 1997
Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames
Participation, creating a bridge between socially engaged practice and the permanent collection
Expressing itself expressing
Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions
Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact
The strategy of making artworks as response
The Ceramic Object, by means of preservation and display becomes a vehicle/vessel for a social and historical narrative/entanglement/engagement
Making vessels, beyond the examining and intellectually impoverished questions
A vessel is identified as such by its physical disposition, giving shape to the contents and clarifying what is inside and what is outside
Few boundaries are impenetrable
They are rather, semi-permeable membranes providing housing while allowing selective commerce
Like the vessel, the house shapes and nurtures the life contained inside
The Factory I build in the Tate is a place to discuss the transactions and transformations of Labour that Create Knowledge and Community
In the Factory we will examine skills and how we form Exchanges at Work , with ourselves and with others
Clare Twomey, Lead artist at Tate Exchange 2017
Post Studio Ceramics
Interfaces between Making-Makers-Museums
Exploring object engagement beyond the known historical models of clay practice
'Generate' Historical Material and Spatial Relations as they interacted with the work, and reflected on the role of the Museum/Hospital
Clare Twomey
Ceramics In The Environment
An International Review
Janet Mansfield 2005
With Fire, Richard Hirsch
A Life Between Chance and Design (invites the unknown)
Scott Meyer 2012
Hirsch takes us to the heart of the interface between ageless earth and the spare evidence of the rhythm of human utility
Raku as an Ideology
Breath-Energy-Immanence
Raku, A Review of Contemporary Work
Tim Andrews 1994
The Poetry of The Vessel
A calm invitation to thought and imagination
Chris Tyler
Choreographing
Events and Demolition
Trace and Encounter
Brian Massumi refers to all arts as 'occurrent' because any and every perception, artefactual or natural is just an experiential event
It is an event both in the sense that it is happening, and in the sense that when it happens something new transpires
Semblance and Event, Activist Philisophy and the Occurrent Arts
Brian Massumi 2011
The vessel (making, thinking, subject) as both a historically grounded form, and a vehicle to examine abstract aspects of the physical body and the natural world
Making new aesthetic utilities, materialities/modalities for thinking about the world
Frames, Handles and Landscapes
Georg Simmel and the Aesthetic Ecology of Things
Eduardo de la Fuente 2016
Simmel, ecological approaches to aesthetics, shares the insight of ecological thinkers regarding how aesthetic perception is not reducible to either the internal mechanisms of the perceiving subject nor to the properties of the external environment, but rather the complex interplay of both
Materiality in art that attempts to expand notions of time, space, process or participation. Looking at materials that obstruct, disrupt or interfere with social norms, surfacing as impure formations and messy unstable substances.
Materiality that surveys the relationships between materiality and bodies, exploring the vitality of substances and the concepts of intermateriality and transmateriality that have emerged in the hybrid zones of digital experimentation
Materiality, Whitchapel 2015
Arte Povera/Germano Celant, an aesthetic-philosophical movement
An eclectic synthesis of knowledge fields, that emerges into a total space where disparate categories can meet; a art that asks only for the essential information, that refuses the dialogue with the social and cultural system, and aspires to present itself as something sudden and unforeseen
Artisanal, pre-industrial trades, firmly rooted in context, often evocatively sketching out the relations between material and place
Dispositions that open possibilities, experimental alternatives opened up by small scale non capitalist and self provisioning crafting
Making is central to our legacy as a society, materially, economically, ecologically and socially
In the small-scale culture of domestic craft enterprise, there is a rapidly expanding, fetishized and globally networked economy, premised on continued consumption of stuff
Idea is, the invisible of this world, which inhabits this world, sustains it, and renders it visible
Merleau Ponty
For Steven Holl, the intertwining of idea and phenomena occurs with the realization of a building as the means for the materialization of the idea force
A methodology of connecting phenomenal properties with a conceptual strategy
Responds to every project by re-evaluating the physical, cultural, historical references of the site-time or program, through which he achieves a 'limited concept' that establishes an order, a field of inquiry, a limited principle for each architectural design process
As the body-subject is perceptually situated into the world by inhabiting space and time, a building is rooted into a specific site and situated by inhabiting, 'the visible and invisible of the site and situation'
By locating the body, 'at the very essence of our being and our spatial perception' Holl redefines architectural space as perceived space with reference to the perceiving-body-subject
Steven Holl uses 'parallax' as an experiential tool as well as a design tool in which architectural space is redefined with reference to the moving body's constantly changing spatial perceptions
Merleau Ponty's main thesis that phenomenology has potential to put the essences back into existence by re-achieving a direct and primitive contact with the world through the realm of perceptual experiences drives Steven Holl to search for vitalizing these essences through the experiences of architectural forms, spaces, materials, light and colour
Intellectual and Phenomenal
Philosophical Inquiry
Interplays in his thinking on and making of architecture
Utility/Interpretation
Bachelard's Poetics of Space, explores the essence of being as it resides in the perceptual situadedness of the body-subject into the world
Perception fundamentally 'acts' enabling human beings to inhabit space and time
When the body-subject gains access into the world through perception, the world becomes, what we perceive
Architecture
That which begins as an interaction with the formation of an abstract idea, the formation of a concept out of this idea and its transformation into a material, a spatial and formal reality on a physical site
Creating the experiential power of architecture
Intertwining, idea-space-material
Anchoring, physics and metaphysics of site
A path of passage in architecture that leads from the abstract to the concrete, the unformed to the formed. An architectural journey in which the idea-force, phenomenal properties and the site force interact with each other
Frames Handles and Landscapes
Gibson's theory of affordances
Behavioral complexities of affordances, grow exponentially through the production of tools, utensils, weapons. Are our aesthetic sensations therefore determined by the environment or do we impose qualities through observation, sensation and perception.
Affordance points in both directions at the same time
Substances also guide the kind of practical actions that the organism senses from elements of the environment, something flat, vertical, convex, concave, rigid, flexible, determines whether something affords support
Art and Aesthetic Patterns
An Ecology of Mind
We are so accustomed to thinking of aesthetic phenomena as a discursive or representational construct, that we often forget that without arousal of perception, no aesthetic experience is possible.
Going beyond what it may represent into the important psychic information it contains
Bateson credits art with playing the role of confronting the quantitative limit built into consciousnesses
Art assists mind in recognizing that the potentiality of heightened consciousnesses exist and that it resides in you and in me
Fittingness/Ecological Approaches to Aesthetic Perception
Colour, Light, Time: Quintessentially relational phenomena in which location, background, density will provide different perceptual relations
Steven Holl
Symmetry appeals because symmetrical patterning provides for the observing mind a maximum of insight with a minimum of intellectual effort, quintessentially relational phenomena ( colour, light, time) and location, provide a background density that will provide for different perceptual relations
Relatedness, connected to the place and function of things within a field
The rational organization of society has its own aesthetic attraction
Redundancy is a synonym for patterning
A pattern is a method for coping with the redundancies of messages emanating from the environment
Patterning of message material always helps the receiver to differentiate between signal and noise
Bateson 1973
Elaborations (Dynamic aesthetic totalities) of such everyday patternings in Art, Music, Ballet, Poetry
Initiating causal consequences, agency as persons and things
Camouflage takes away the ability to block out the irrelevant things in the environment, thus camouflage (which is designed to subvert communication) achieves its aims by breaking up the patterns and regularities in the signal, or by introducing similar patterns into the noise.
But what unambiguous codes gain in noise reduction, they lose in richness and expressiveness
Somewhere in between is the effective use of redundancy in which the blocking out of redundancies paradoxically heightens our attention to what is important
Frames, Handles and Landscapes
Simmel 1965
A tools beauty springs from the many unintended and absolute causalities, instead of being a materialization of an aesthetic idea
The Thinking Hand
Pallasmaa
Affordances provide strong clues to the operations of things
Gibson
A psychology of causality is at work as we use everyday things
Donald Norman 2002
Perception of Environment/Relational Situations
Tim Ingold
Each thing framed dwells in the world differently
The frame and framing, through its configuration, must never offer a gap or a bridge through which as it were, the world could get in, or from which the picture could get out
The picture frame reminds us that the work of art, while it hangs in our room, does not disturb our day-to-day sentient and perceptual ecologies
It is like an island in the world that waits until one approaches it and which one can as well pass by and overlook
On The Picture Frame, Simmel
Art becomes art by virtue of literal and institutional framing
Aesthetic contemplation blurs reals and emotional space in a way that produces tangible affects in the world
The thinking hand that mediates a haptic bridge in which creating and holding, becoming and grasping are all practical everyday activities extending the thinking body
Objects that stand in two worlds at once and becoming drawn into the movement of practical life through the virtue of being held in the hand
The intermingling of persons and objects in pictorial space and the aesthetics of the intermingling of function and form in everyday things
The pictorial space is one in which persons and images intermingle and passions can be aroused
Gell
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